M. Degerando, a man of sagacity and methodical mind, has enquired into the connexions of signs, with the art of thinking. The comprehensive genius of M. de Tracy, has collected the three sciences linked together, in one body, as they are in nature. M. Cabanis, as interesting as he is perspicuous and profound, by comparing the physical and the moral man, has submitted medicine to the analysis of the understanding. M. Garat, appointed to lecture on this analysis, in the normal schools, has, by his brilliant imagination, rendered reason itself luminous; a kind of service for which, in questions yet abstract, reason can be indebted to talents of a superior order only.

The science of the duties of man, mozality, without producing so many works, has not however been barren. We have found in the lectures which Marmontel bequeathed to his children, the precepts of Cicero blended with evangelical wisdom. We ought particularly to distinguish an important work of Saint Lambert, who formerly enriched our literature by an elegant, harmonious, and philosophical poem. Arrived at the last period of his life, he did not abandon the banners under which he enlisted in his youth. Invariable in his principles, shunning extremes even in good, he neither affected excessive picty, nor stoical austerity. Without detaching morality from the social, necessary demonstrable principle of a superintending and protecting God, he founds it altogether on the relations which unite man to man, on our wants, on our passions, on the innumerable multitude of individual interests, constantly at variance with each other, but compelled by nature to commingle, and forming by their union, the general interest of society.

We consider, in their turn, those who have applied the art of writing, to matters of policy and legislation; not the crowd of subordinate wits, who by periodical papers, or pamphlets, less transitory, flattered the passions of the multitude, while the multitude possessed power; but a small number of men, more or less, distinguished for their talents, and equally laudable for their intentions. An able dialectician, M. Sieyes, in works where the strength of thought proMONTHLY MAG. No. 195.

duces strength of style, has treated important questions of general policy. A writer, celebrated in more than one kind of composition, now the Prince Archtreasurer of the empire; like him, M. Roederer, M. Dupont de Nemours, M. Barbé-Marbois; after them, M. M. I. B. Say; M. Ganilh, have treated, in an interesting, and perspicuous manner, of different branches of political economy. The Elements of Legislation, published by M. Perrau, are not unworthy of being quoted. The author of a work, honoured with the prize of utility, which the French Academy used to decree, M. Pastoret, in developing the principles of penal legislation, thought that he could determine how the law should proceed, in order to be humane, when it should strike to be just, and where it should stop to be useful. We remark in the. works of M. de Lacretelle, a brilliant and celebrated discourse, on the nature of ignominious punishments. All these writers have kept pace with the reason of the age, and some have accelerated its progress.

Before we proceed to the oratorical art, in which we again find policy and legislation presented under new forms to France, we shall have to mention a Trea tise on the Eloquence of the Pulpit, a book itself eloquent, in which Cardinal Maury gives excellent precepts, after having exhibited striking examples.

In literary criticism, several writers furnish us with profound studies, and judicious comments on our great classics: M. Cailhava, on Moliere; M. Palissot, on Corneille and on Voltaire; Chamfort, on Lafontaine, whom he had, while young, made the subject of a charming eulogy; and Laharpe, on Racine, whom he had also worthily praised before. We do not omit remark ing numerous additions to the Literary Memoirs of M. Palissot, a work frequently instructive, and always written with uncommon elegance. Nor do we forget the labours of M. Ginguéné, on Italian literature, a considerable and useful work, already in a state of great forwardness. Here the last volumes of Laharpe's Course present themselves, with his Correspondence in Russia. After having done justice to the indisputable talents of that man of letters, now no more, we shall be obliged to point out the extronie severity with which he thought himself authorised to treat his contemporaries, and particularly his rivals; his unreserved censure,

H

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which is scarcely ever júst; the pleasure of condemning, which discredits an able censor; his injustice often palpable; and even in a just cause his offensive bitterness so opposite to French urbanity. On this occasion, Sire, we shall examine the rules of sound criticism, and in so doing, we engage to observe them in the whole. course of our work; and perhaps it may be of importance to repeat them, when they appear to be forgotten.

In the oratorical art, at the commencement of our period, appears a collection of the funeral orations and sermons, by Beauvais, bishop of Senez, a prelate indebted for his dignities, to his merit; and who sometimes shewed himself the worthy successor of Bossuet, and Massillon. The French bar appeared impoverished, when its supporters enriched the tribune. At this term our memory recurs with pain to turbulent -assemblies. We shall hasten through them, Sire, to avoid numerous shoals. We shall be able to conform ourselves to the views manifested by your equity and wisdom; and forced to recollect that factions existed, we shall not forget that there were also talents. We begin with that celebrated orator, who, gifted with a mind as vigorous as flexible, attached his personal renown to almost all the labours of the constituent assembly. After Mirabeau, follow those who combatted his opinions with energy, the Cardinal Maury, Cazalès; those who successfully supported him, Chapelier, Barnave, and M. Regnault de Saint Jean d'Angely, who still displays, in the hall where we are now admitted, that precision and perspicuity, which peculiarly distinguish his eloquence. Could we forget the number of able civilians, who have applied the oratorical art, to the different objects of legislation. Thouret, Tronchet, rivals worthy of each other; Camus, who to great knowledge joined great austerity of manners; Target, M. Merlin, M. Treilhard, whose extensive fearning has enlightened the tribunals? We pay homage to the plan of publie instruction, that monument of literary glory, erected by M. de Talleyrand; a work, in which all the philosophic ideas are embellished by all the charms of style. The subsequent assemblies furnish us with two works of uncommon merit, of the same kind; the one by the profound Condorcet, the other by M. Daunou, whose useful labours, eloquence, and modesty, have been esteemed by several legislatures. We remark

in the same assemblies, orators who united to a courageous probity, a diction both pathetic and imposing: Vergniaus, for instance; M. Français de Nantes, M. Boissy d'Anglas, M. Garat, Portalis, M. Simeon, and that able statesman so eminent for jurisprudence, and the oratorical art, so elevated amongst the great dignitaries of the empire.

In the camps, where, remote from the calamities of the interior, the national glory was preserved unsullied; there arose another species of eloquence, until then unknown to modern nations. It must even be admitted, when we read in the writers of antiquity, the harangues of the most renowned chiefs, we are often tempted to admire only the genius of the historiaus. But here, doubt is im. possible; the monuments exist; history has only to collect them. From the army of Italy proceeded those beautiful proclamations, in which the conqueror of Lodi and Arcole, at the same time that he created a new art of war, created the military eloquence of which he will remain the model. This eloquence, like Fortune accompanying him, resounded through the city of Alexandria, in Egypt, where Pompey perished; through Syria, which received the last breath of Germanicus. Subsequently in Germany, in Poland, in the midst of the astonished capitals, Vienna, Berlin, Warsaw, it was faithful to the hero of Austerlitz, of Jena, of Friedland; while in the language of honour, so well understood by the French armies, from the bosons of victory, he still commanded victory, and inspired heroism.

At the moment, when men of science and literature, long tossed about by storms, found refuge in a new asylum; and particularly at the epoch, when your Majesty, improving the Institute, "honoured it with your special favour: academical eloquence soon began to revive, and to flourish again. That species of composition, the various models of which belong exclusively to the literature of the last century, is not contracted within narrower limits. Two illustrious writers, Thomas and M. Garat, have proved, that in certain subjects, it admits of grand images, and of the most beautiful movements of oratory. The art also often consists in avoiding them. But it always requires elegance and regularity in the forms, perspicuity, justness, and a happy harmony between the ideas and the expressions. These qualities have been found combined, in the discourses

which M. Suard delivered, as perpetual secretary, in the name of the class of French Literature; and the same functious have been performed with equal Euccess, in the name of the other classes. M. Arnault, on several solemn occasions, has infused great interest into subjects of public instruction. Amongt the panegyrists, M. de Boufflers, M. François de Neufchateau, M. Cuvier, Portalis, have been distinguished by the brilliancy and facility of their style; and the eulogium of Marmontel, a work of great merit, which philosophy and friendship dictated to M. Morellet, appears in particular to have been heard with uniform pleasure throughout. Finally, as it is impossible to quote all, a multitude of productions are sufficient securities to us, that this species of writing will resume the useful influence which it formerly 'possessed; as well in the French Academy, as in the Academy of Sciences; where more than one celebrated author, a member of both societies, preserved between their different studies that union, which renders sciences more generally useful, and gives to literature a more extensive direction.

The important branch of history, Sire, will long engage our attention. Not that we pretend to rescue from oblivion, a mass of private memoirs on the French revolution. Defective in point of style, containing besides only pleadings in favour of the different parties; they be long to the class of polemic writings, and we shall discard them indiscriminately. We shall, however, have to give an account of a great number of works. In one, M. Castera, describes an empress, who shone thirty years on the throne of Peter the Great. In another, M. de Segur, in drawing a political view of Europe, during a tempestuous period, communicates to his style the luminous ness of his opinions. We shall display the merit of an Abstract of the History of France, a work of M. de Thouret, one of the members of the Constituent Assembly. The period furnishes us with another superior work, at least for the great qualities of the art of writing. Rulbiere, &n academician, now no more, has related the memorable events of the last century, in those regions, Sire, where your Majesty, accompanied by victory, has dictated a glorious peace. Although this posthumous work remains incomplete, we shall discover, in every part of it, the stamp of a genius improved by labour, and at times uncommonly

Before the art of writing was applied amongst us to the history of the sciences, it was known to what an elevation it could attain, even in the sciences the object of which is the study of nature. Buffon had taught it; and we shall have an occasion to remark, how well his worthy continuator, M. de Lacepede, has benefited by the lessons of so great a master. We shall see Lavoisier, and Fourcroy diffusing over chemistry that clearness, which is the first quality of style, and the most necessary for instruction. We shall next examine whether the theories, relative to the different arts of imitation, do not offer in the same light very remarkable improvements. Our researches will not be fruitless. We shall remark particularly, with what ease and elegance M. Gretry has treated the musical art, which he has long honoured by compositions, the melody and truth of which can never become obsolete.

We shall not proceed to poetry without taking a rapid view of novels, a kind of writing which resembles history, by the recital of events; the epic by an action wholly, or partly fabulous; tragedy by the passions, comedy by the representations of society. We shall not

notice

graces.

Poetry will first present to us the eminent and sublime species consecrated, Sire, to celebrate the men who form the destiny of nations, the heroic pocm. The poets capable of attaining the Epopée, are pot less rare than the men worthy of being adopted by it. Five master pieces only produced within thirty centuries, are a sufficient proof of it. If within the period which we have to consider, we perceive scarcely one laudable, but defective attempt, the Helvetians we may indulge in higher expectations, warranted by the poetical talents of M. de Fontanes, who now shines as an orator at the head of the legislative body. In proceeding to the Heroi-comic poem, we shall not forget the extreme circumspection necessary, in certain subjects, and at the same time to pay the tribute of praise justly due to one of our best poets, M. de Parny. After original compositions, follow imitations and transJations, in verse, of some celebrated epic poems. Amongst the imitators, M. Parceval de Grandmaison, to whom we are indebted for the Epic Amours, and M. Luce de Lancival, author of Achilles at Scyros, must be distinguished from the erowd: but translations of the greatest merit will more particularly engage our attention. Virgil and Milton themselves seem to speak our language; and, thanks to a living classic; thanks also to Monsieur de Saint Ange, an able and laborious translator of Ovid; we shall have the pleasure of observing, that in this respect, the present period is superior to every other. Until now, at least, in works of such importance, the difficult art of conquering the beauties of foreign

poetry, and of translating genius by talent, had not been carried so far.

In didactic poetry, it is also to M. Delille that the period is indebted for its fecundity. He has diffused through three original poems, the same richness of style which he had displayed in translating the Encid, and Paradise Lost. The poem on the Imagination, would particularly be a sufficient foundation, upon which to establish a high renown. M. Esmenard, M. Castel, and some others come next; deserving of praise, but far behind their model. Lebrun alone, would have been equal to the competition with M. Delille, if he had finished his poem on Nature; of which some fragments, of superior merit, remain. Without a rival in the Ode, Lebrun obtained harmonious sounds from the Pindaric lyre, so rebellious to vulgar poets; and we shall remark, Sire, that his last notes were consecrated to your triumphs; he was worthy to celebrate them.

M. Daru the translator of Horace, has, in that difficult undertaking, displayed a pure taste, a flexible mind, a profound study of the resources of our versification. Erotic poetry, is honoured by M. de Parny, by M. de Boufflers. Poets, whom we shall find again with lustre on the French stage, already pre

sent themselves under brilliant and various forms: M. Ducis, in the' Epistle; M. Arnault, in the Apologue; M. Andrieux, in tales; M. Legouvé, M. Raynouard, in short poems of a serious and philosophical kind. After these experienced authors, we observe some rising talents now forming, which afford more than hopes. During two successive years, M. Millevoie, distinguished for the elegance of his style, has obtained the prize of poetry. M. Victorin Fabre, still younger, has merited, during two years successively, an honourable distinction. Several, whom it is now impossible to name, will not be forgotten in our work, where we shall avoid severity: persuaded, that in literature, as in every thing else, indulgence approaches nearer to justice.

Here is presented to your Majesty's view, dramatic poetry; the two kinds of which had so much influence on our language, our whole literature, and the national manners. In tragedy, appears first M. Ducis, an inventor, even when he imitates; inimitable when he gives lan guage to filial piety, a poet deservedly

celebrated

celebrated, and whose pathetic genius has tempered the gloomy terror of the English stage. Competitors, worthy of each other, come next: M. Arnault, so noble in Marius, so tragic in the Venetians; M. Legouvé, whose Death of Abel presents an elegant imitation of Gesner, and who displayed great energy in Epicharis; M. Lemercier, who in Agamemnon so ably blended together the beauties of Eschylus and Seneca; lastly, M. Raynouard, who rendered so brilliant an homage to victims honoured by the regrets of history. We shall notice the interesting scenes of the Joseph of M. Baour Lormian, and the estimable parts of Mr. de Murville's, Abdelasis. We must not omit a few reflections. The good tragic compositions of the period cannot be reproached with the multiplicity of incidents, the profusion of subordinate personages, useless episodes, the insipidity of elegiac scenes. In all, the action is simple, and almost always severe. The progress of the poets is not timid. Without violating the ancient rules, they have obtained new effects. Upon the whole, they have preserved the philosophical character impressed on tragedy, by the finest genius of the last century; by following whose steps, the greater part have opened to themselves the various routes of modern history; an immense career, which promises for a long time, new palms to the poets capable of pursuing it.

In proceeding to comedy, we find as early as the first years, the pretty little piece, the Convent, by M. Laujon; the Greek Menechms, by M. Cailbava, an entertaining and well-conducted comedy of intrigue; a work elegantly versified, the Pamela of Mr. François; a copy of that of M. Goldoni, but a copy superior to the original. Two, Fabre d'Eglantine, and Colin d'Harleville, competitors experienced in contending with each other, enrich the higher order of comedy, the one by forcibly pourtraying impassible egotism, and impassioned virtue; the other in representing, with strongly comic truth, the inconveniences of a protracted celibacy. M. Andrieux, shines in the same rank, by a pleasing vivacity, graceful and interesting details, and the uninterrupted charm of his style, A fertile imagination, an unaffected

* In obedience to the class of French literature, Mr. Chenier is here named. His tragedy of Fenelon has succeeded, protected by the memory of á great man.

gaiety, an original portraiture of manners, have secured the success of M. Picard. Not less gay, and nearly as fertile, M. Duval is partly entitled to the same commendations. The purity of diction is esteemed in some essays of M. Roger. Here we point out an improvement, the merit of which is due to the principal writers, whom we have just named; perhaps also to the change which has taken place in our manners. During the whole period, the comedies worthy of notice preserve no traces of that jargon, which was so long in vogue. To succeed, it was found necessary to be natural. The pedantic, prudish style, the false wit, the affected tone, which had been introduced on the comic stage, by authors more refined than ingenious, have been entirely banished.

In the drama, a defective species of composition, but susceptible of beauties, we distinguish Beaumarchais, whom ins comedies and his memoirs, had already rendered celebrated. M. Monvel, an author who has deservedly obtained numerous successes, and one of our greatest performers; M. Bouilli, whose pieces breathe that interest which excellent morality inspires. On the theatre, rendered illustrious by Quinault, are to be remarked M. Guillard, and M. Hoffman; more recently, M. Esmenard, and M. Joui: on the other lyric scene, M. Hoffman again, M. Monvel, M. Marsolier, M. Daval. After having done justice to some pleasing productions, compelled however to renew some opinions of Voltaire, and to observe what he had foreseen and dreaded, the influence of the comic opera on the general taste of the spectators, we shall endeavour, in consequence of that observation, to enquire into the means of supporting, of augmenting, if possible, the splendor of the French Theatre; where the dramatic art essentially resides. Your Majesty, is pleased benevolently to attend to this art, as beautiful, as it is difficult; and it is more easy than ever to perceive, of what importance it may become, when your soul, in unison with that of Cor heille, applauds the conceptions of that man of genius, whose natural language was sublime, and who forced heroes to weep.

In finishing, Sire, a vast view, of which want of time now permits us only to present to your Majesty an incomplete, but at least a faithful sketch, general considerations on the whole period will detain us a moment. Science and liter

ature